Category Archives: Film Distribution

When a Film Sales Agent is Usually Needed

When a Film Sales Agent is Usually Needed

When a Film Sales Agent is Usually Needed

“At some point in your journey, a Film Sales Agent is generally necessary to get your movie sold to the international territories. Can you get some overseas markets sold on your own? Yes, it’s possible but not the easiest thing to do. Overseas buyers tend to rely on the relationships they have with the Sales Agents they know and are not inclined to make one-time deals with unknown filmmakers. (This dynamic is only true with international buyers; it is NOT true for domestic buyers/distributors.)
On the other hand, is a Producer Rep necessary to get your movie sold domestically? Absolutely not, and in fact, they often do more harm than good by shotgunning your movie along with 20 others to everyone they know. Frequently there’s no care or personal attention given that many movies require, to be successfully sold in the U.S.
Also, relationships mean less here. Domestic sales are more about the product — the movie you’ve made — and less about who’s selling it.”

by Jerome Courson

 


Film Distribution. What do you need to know!

Film Distribution. What do you need to know!
FILM SALES AGENTS vs. PRODUCER REPS
“The general rule of thumb: This is not an absolute, but you don’t want to sign a contract with either one of these people for the whole world. Film Sales Agents are not that good at securing domestic deals (with some exceptions, of course), and most Producer Reps are equally useless for the international territories. All a Producer Rep can do for the international territories is connect you with a Sales Agent for this — which you can do yourself! It’s not that difficult. Really. It is not difficult if you have a decent movie or it’s the right genre. If you let a Producer Rep connect you with a Sales Agent, then you’re just giving up another slice of your pie to another middleman.
[Side Note: Not to confuse you, but the only good reason to NOT split up your domestic and international rights when making deals, will be when a major studio or mini-major comes calling because they’ll want worldwide rights if available.]
So it’s important to know the distinctions above, and important to know who you’ve been approached by and what they want to do. You don’t want to: a) Contract and lock up rights with someone that won’t do you any good for certain markets; and b) Contract and lock up rights with someone who will just be a second middleman eating more of your pie.”
by Jerome Courshon